Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Thanksgiving in Camp - Winslow Homer
Prix régulier
£28.00 GBP
Prix de vente
£28.00 GBP
Prix régulier
Giclée d'art
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Description
A detailed wood engraving by Winslow Homer depicting Union soldiers in a makeshift camp during the American Civil War, originally published in 1862.
Published in Harper's Weekly on 29 November 1862, this wood engraving captures a quiet moment during the American Civil War. Winslow Homer, working as a special correspondent and illustrator for the publication, documented the daily experiences of Union soldiers. The scene depicts a makeshift camp setting where men gather under a rough shelter constructed from branches. A sutler's tent is visible in the background, offering supplies such as pies and cider, which provides a domestic contrast to the military environment.
Homer focuses on the varied activities of the soldiers. Some men sit around a table, while others stand near a small fire in the foreground. The composition balances the informal grouping of the men with the rigid, upright posture of an officer standing to the right. The artist employs precise hatching and cross-hatching techniques to define the textures of the uniforms, the wooden crates, and the foliage of the shelter. This work avoids the glorification of combat, choosing instead to focus on the mundane realities of camp life and the longing for home during a national holiday. The inclusion of specific details, such as the signage on the sutler's tent, adds a layer of documentary authenticity to the print. Through his work for Harper's Weekly, Homer developed a keen eye for observation that informed his later career in painting. This print remains a primary source for understanding the visual culture of the mid-nineteenth century and the specific conditions faced by soldiers during the conflict.
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Chaque impression est réalisée à la commande par impression giclée 12 couleurs sur papier d'archivage certifié FSC. Conçue en Grande-Bretagne et imprimée dans votre centre de production le plus proche afin de réduire le gaspillage et d'accélérer la livraison.
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Impression giclée de qualité musée sur papier mat d'archivage certifié FSC, avec options d'encadrement et sur toile.
- Formats de papier : A4, A3, A2, A1, A0 et B2 (50×70 cm)
- Toile : du XS (20×30 cm) au Grand (60×90 cm)
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Thanksgiving in Camp - Winslow Homer
Prix régulier
À partir de £28.00 GBP
Prix de vente
À partir de £28.00 GBP
Prix régulier
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Winslow Homer
Homer started as an illustrator for Harper's Weekly, covering the American Civil War. He was not a soldier. He was a correspondent, sketching camp life, sharpshooters, and prisoners with the detached accuracy of a reporter. The war drawings were published as wood engravings and brought him national attention. He was twenty-five.
He moved from illustration to painting without formal training, learning oil technique largely by observation. His early paintings are genre scenes of rural American life: children playing, women on croquet lawns, the kind of post-war pastoral that the public wanted. They sold well. He was dissatisfied with them.
In 1881 he went to Cullercoats, a fishing village in northeast England, and spent two years painting the women who waited on the shore for the fishing boats to return. The Cullercoats paintings are darker, more dramatic, and more serious than anything he had made before. The sea became his subject.
He moved to Prouts Neck, Maine, in 1883 and lived there, mostly alone, for the rest of his life. The Maine paintings, The Gulf Stream, Northeaster, Right and Left, are about the confrontation between human beings and the ocean. The figures are small. The water is enormous. The light is cold. He painted the sea the way Constable painted clouds: from direct observation, over years, until he understood its behaviour.
His watercolours, made on fishing trips to the Adirondacks, Florida, and the Bahamas, are freer and more experimental than the oils. Tropical sunlight and clear water brought out colours he did not use in Maine. He died in 1910, at seventy-four.
He moved from illustration to painting without formal training, learning oil technique largely by observation. His early paintings are genre scenes of rural American life: children playing, women on croquet lawns, the kind of post-war pastoral that the public wanted. They sold well. He was dissatisfied with them.
In 1881 he went to Cullercoats, a fishing village in northeast England, and spent two years painting the women who waited on the shore for the fishing boats to return. The Cullercoats paintings are darker, more dramatic, and more serious than anything he had made before. The sea became his subject.
He moved to Prouts Neck, Maine, in 1883 and lived there, mostly alone, for the rest of his life. The Maine paintings, The Gulf Stream, Northeaster, Right and Left, are about the confrontation between human beings and the ocean. The figures are small. The water is enormous. The light is cold. He painted the sea the way Constable painted clouds: from direct observation, over years, until he understood its behaviour.
His watercolours, made on fishing trips to the Adirondacks, Florida, and the Bahamas, are freer and more experimental than the oils. Tropical sunlight and clear water brought out colours he did not use in Maine. He died in 1910, at seventy-four.
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Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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